rmorris

Try Half Round / Groundwound / Pressure wound types. Smoother feel but brighter than flats.

Condenser Microphones at less than c £100 generally offer excellent value and performance these days. Generally down to Chinese manufactured capsules that are used by the various brands. You can look on Studiospares and pretty much anything there will be useful. Individual tastes are not easy to quantify and, in reality, a huge amount of your results will be dependent on your mic' approach and technique. You are targeting a wide frequency range from double bass and sousaphone through to acoustic guitar and vocals so that is something of a challenge for a single model regardless of cost. Double bass is known to be particularly difficult to record - due to both the frequency range and the way the sound develops from the instrument. That's one of the reasons that a contact / piezo mic is often used possibly in conjunction with a standard mic. Also - for acoustic guitar a small diaphragm condenser might be a good idea. Particularly if pointing one at the neck to pick up string / finger noise. But that would imply a two mic setup with a 'main' mic on the body / soundhole. I might suggest taking a look at this. Note it includes a suspension mount. https://www.studiospares.com/microphones/mics-condenser/studiospares-s1005-condenser-mic-package-449560.htm

I have one of these (and other sizes for electric guitar and electroacoustic) and find it does the job in terms of carrying height / weight balance. As has been pointed out - you do inevitably end up with a good height above head height making doors / buses / tube trains interesting 🙄 https://www.thomann.de/gb/thomann_elite_gigbag_ebass.htm

True it's not an essential part of the circuit. But technically it is not good practice to leave any metal floating so it should be tied to a reference potential eg 0V (ground). In reality though it likely makes no real difference on this application. Point taken re potential damage but fwiw I've never damaged a pot by soldering to the case. Use a high temp for a short time.

Against that the back of a pot acts as more of a heatsink hence the need for a higher iron temp/heat capacity. But yes I like a good solid connection there. Solution is really an iron with some oomph and preferably temperature controlled.

What amp with DI is it ?

Well I did caveat with "If really into it" 😳 I tend to agree wrt bass boost preamp although the resonance / peak due to the L of a pickup and the C of any tone cap / Cable capacitance / and amplifier input C is interesting. If it interest you of course 🙂

Better (imho) Just take the signal from the top of the pot (rather than the wiper) and wire the wiperto the bottom of the pot to give a single variable resistor : Zero Ohm to 1M0 (well near Zero due to pot limits but that area not of interest anyway). If we assume amplifier resistive input impedance of 1M0 then impedance range seen by pickup is variable between 500K and Zero. Lower impedances will, of course, give lower level into amplifier so you need to compensate for that for real comparison. If really into it you could 'LT Spice' simulate it with varying L / R / C values...

Worth looking here (legacy site) http://www.audereengineering.com/TechDetails.htm

Is it simply a matter of simply reducing the impedance seen by the output ? If so you could just use a pot' wired as a variable resistor in parallel with the amp input. The transformer method is also an option - literally 'transforming' the impedance and can be wired to increase or decrease the impedance.

Yes. In my enthusiasm I used a combination that is not recommended due to the difficulty is separating. I found this out after I had some difficulty prising it apart 🙃

What is clear is that in general it's not that a supply is itself inherently 'noisy' (although there are varying levels of noise on the voltage rails). The real issue is what pedals are powered and how they are connected. The 'safe' bet is properly (galvanically) isolated outputs (or separate supplies). The 'not really isolated' multiple output types can still offer an advantage over a 'daisy chain' as they can feed pedals from separate connectors so reducing 'shared cable'' (common impedance). With a 'daisy chain' the order of pedals has an effect - basically a digital pedal that is putting clock noise onto the 0V line will cause more noise if it is toward the end of the chain because its return current modulates the reference of the pedals between it and the supply. Linear vs Switching supplies is an 'interesting' area - In some cases a switching supply can result inn a better result. But personally I feel more confident with a linear supply. A non-noise related benefit of isolated (floating) supplies is that you can stack them to give a larger voltage eg 18V from 2x9V outputs - I do this to get approx 18V for a couple of Trace Elliot pedals.

The output volume increases only because you set the make up gain to a level where that happens. Or it has automatic make up gain. The compression function itself is realised by a reduction in gain - hence the 'Gain Reduction' meters often seen. Conceptually the function could be realised by amplifying lower level signals more than higher level signals. But in reality it is done by gain reduction followed by make up gain. This has the same effect - it's 'just' relative levels. This applies to analogue hardware. Software solutions achieve the same thing and often present it in a similar way although the actual realisation in code may be done in various ways. Worth remembering that the perceived loudness level is more dependent on the overall energy rather than peak level and this is a basic reason why compression can increase perceived loudness whilst getting rid of pesky peaks.

It's really a question of context - useful to bear in mind that any bass guitar you hear on a recording has almost certainly been compressed in some way. Similar with any signal going to PA via FOH desk. It's sometimes better to leave this stuff to the 'SoundGuy/Gal' who is listening to it in context. Also to reflect on studio experience and what was done there.

Simply - what do people recommend for neck cradle / support ? Seems that opinion varies from some quite expensive kit to 'Big Bag of Rice' type solutions... Something good for nut filing etc as well as string change convenience.

In that type of situation it's not just a case of smoothing it out. By setting the attack/release parameters appropriately you can make a compressor 'pump' deliberately to eg increase the transient clarity of your eighth note lines.

+1. OP is looking for a safety net in case the Helix fails and can't be sorted atm ? Eg by "Turning it on and off". So imo doesn't warrant a high outlay. And if the Helix does prove to be prone to flipping out then a proper solution is needed really. fwiw I'd recommend putting some sort of mains filter in the power feed to the Helix to reduce susceptibility to electrical issues at different venues.

Are your tuners lubricated ? Would you like us to assign someone to lubricate your tuners ?

For Lead Free you just need a hooter iron basically. A 'standard' 25W Antex or similar may struggle. You do need to keep more of an eye on the condition of the solder iron tip though.

There's an advantage to having the pot case grounded (albeit small if the cavity itself is shielded and grounded effectively) but it doesn't need to be the place where all the ground/screen connections join.

Well I was being rather brief so no problem. This really applies only to active basses that use a 'stereo' jack for the output and the screen connection of a mono jack plug is used to join the 'Ring' conductor to 'Screen' to complete the power circuit - hence the usual advice to unplug when not used inn order to avoid running batteries down quickly. So I'm just advising to wire to the 'Screen' connection on the output jack and not the 'Ring' connection. For clarity - 'Stereo' or 'Balanced' jack connections are referred to as "TRS" jacks. T = Tip (Signal +ve) R = Ring (next 'band' on the plug - Signal -ve for balanced audio; other channel for stereo) S = Screen To add to the fun also often used as combined Send/Return connector for unbalanced Insert points on mixers.

Yes (to the 0V connection (screen) of course. Be careful not to connect to the Ring Connection by mistake.

For the Copper Tape solution you first need to be certain that the adhesive is conductive. Some types are and some aren't. Soldering the wire to the tape should be fine. The possible problem you may have is a secure adhesive connection. Do key the pot casing to remove any coating / grease etc. But you'll still have a relatively small flat surface to fix the tape. Really 'squeegee' it down. I'd advise soldering the connection myself. Use a good sized. preferably temperature controlled iron. If it's a configuration where you are attaching one of the pot lugs to the casing to ground it - then bend the lug over to solder that. Then the wire can be more easily soldered to the lug using the hole in it to keep the wire in place.

Thanks for posting sensible advice on this topic. And to be clear about the conductivity (or resistance) of copper vs silver: It's not an issue. It doesn't matter. (because it's insignificant in the context of your output and input impedances). Mechanical integrity is key - basically your connector joints and cable relief. And cable capacitance makes a difference. Minimise unbalanced / Hi-Z cable runs.

Is that compared to running the bass passive ?